Independent Exhibitors Film Bulletin (1950)

'THE FURIES' UNEVEN WESTERN MISSES FIRE Rates <J * -) generally on names Paramount 109 minutes Barbara Stanwyck, Walter Huston, Wendell Corey, Judith Anderson, Gilbert Roland, Blanche Yurka, Thomas Gomez, Albert Dekker, Wallace Ford, John Bromfield. Directed by Anthony Mann. "The Furies" is a peculiar melange of good, bad and indifferent scenes in a Western setting. The sum total is unsatisfactory entertainment for any single group of moviegoers despite the fact that this Hal Wallis production has something for everyone. Something, but not enough. The long running time, the inordinate amount of dialogue for a film of this type, the failure to reach a threedimensional characterization in any of the unusual types that people the potentially powerful cast, and an attempt to take in too much of the Niven Busch novel from which "The Furies" stems — ■ all work to dissipate the few brief interludes of brilliance that flash forth occasionally. One senses that Wallis was de termined to make a "great" picture and told Director Anthony Mann and his cast to do just that. The obvious straining to attain a monumental stature in itself defeats that purpose — the shadowy photography, when it is often unnecessary, the situations that become too bizarre, the unfinished and often unexplained motivations for violence. The biggest disappointment is the inability of such a sterling cast to achieve a single fullbodied portrayal. Even the late Walter Huston, in his final screen role, fails to make the dominant character of a dictatorial land baron credible, while Barbara Stanwyck, Wendell Corey, Judith Anderson and the rest of the players supply surface portrayals in a film that must depend largely on characterization. Erupting sporadically amidst the welter of dialogue are pounding spurts of action, but the audience will do plenty of squirming in between. Grosses for the most part should be spotty, varying in ratio to the bally push exerted by the exhibitor. STORY: Head of a huge cattle empire in the New Mexican territory in 1889, Walter Huston dominates everyone but his daughter, Barbara Stanwyck, whom he adores for her spirit and defiance of rules. When gambler Wendell Corey catches Stanwyck's fancy, a rift between father and daughter develops, but is patched when Corey turns down her proposal of marriage and humiliates her by accepting money from Huston for his rejection. There is another split when Huston brings Judith Anderson to the ranch and Stanwyck realizes that Anderson plans to marry Huston and become mistress of the empire. In a rage, Stanwyck hurls a scissors at Anderson, disfiguring her face horribly, and the infuriated Huston vengefully hangs her friend, Gilbert Roland, in retaliation. They part bitter enemies and Stanwyck joins forces with Corey to take the ranch away from her father. She tricks him into rounding up the cattle scattered all over the empire and then pays for the herds in the worthless currency he had issued. The ruse effects a reconciliation between father and daughter, but Huston is killed by Roland's mother and Stanwyck and Corey are left with the empire. BARN. 'CRISIS' FORCEFUL LATIN-AMERICAN POLITICAL DRAMA Rates • • less in action houses MGM 96 minutes Cary Grant, Jose Ferrer, Paula Raymond, Signe Hasso, Ramon Novarro, Antonio Moreno, Teresa Celli, Leon Ames, Gilbert Roland. Directed by Richard Brooks. "Crisis" is an intensely provocative dramatization of a Latin American revolution one which will provide plenty of thrills and entertainment for most moviegoers. A bctter-than-average attraction for situations generally particularly in spots where the Cary Grant name stimulates attendance this forceful Metro drama may prove disappointing for the ladies who do not fancy political and philosophical discussions with their movie fare. However the film has the potentialities, which, with proper exploitation by exhibitors, should get slightly above average grosses. Top laurels must go to Grant, who copes with a terrific emotional problem in "Crisis" with pleasant humor and understanding. But much of the credit for this intriguing tale of the violence and turmoil that plague a nation on the brink of revolution is due scripter Richard Brooks, of "Crossfire" fame, who also directed the film. He shows a good deal of talent, both as writer and director, in his handling of the melodramatics, providing an almost unbearable amount of excitement and suspense. This ability is vividly illustrated in the scene in which surgeon Grant rehearses for a difficult brain operation on a dummy head, while the patient-to-be, dictator Jose Ferrer, looks on; at first quizically, then with fear. Ferrer, who stands out among the lesser known, but nevertheless able, members of the cast, is excellent as the sick tyrant who thinks only he can save his people. Applause is rated also for Paula Raymond, as Grant's wife; Gilbert Roland, the revolutionary leader, and Teresa Celli, prominent in a sm?.ll role as a rebel. STORY: Tourists Cary Grant and his wife, Paula Raymond, are taken to the palace of dictator Jose Ferrer, where Grant, a brain surgeon, is asked to oper ate on Ferrer, suffering from a brain tumor. Because the unnamed Latin American country is on the verge of revolution, Ferrer insists the operation be performed in fhe palace. Grant consents, though under protest, and mingles with the revolutionists while preparations are being made for surgery. Gilbert Roland, leader of the revolutionists, begs Grant to kill Ferrer while he is under the knife. Grant doesn't commit himself either way, but Roland has Miss Raymond kidnaped, sending a note to Grant just before the operation, saying she will be killed if Ferrer lives. The note is intercepted and Grant operates, not knowing his wife is in danger. The results are kept a secret from the people, who finally revolt while Ferrer is recuperating. Ferrer, who needs complete rest, gets too excited while trying to quell the rebellion and dies of a hemorrhage. The revolutionaries take over the country, burning and plundering as they go, Miss Raymond is returned by Roland unharmed to Grant, who shows complete disgust with Roland as the latter pleads to be saved from a stray gunshot wound. TAYLOR. IROQUOIS TRAIL' ACTIONFUL HISTORICAL REDCOATS AND INJUNS FILM Rat es as action house dualler; less elsewhere UA 85 minutes George Montgomery, Brenda Marshall, Glenn I angan, Reginald Denney, Monte Blue, Sheldon Leonard, Paul Cavanagh, Holmes Herbert, Dan O'Herlihy. Directed by Phil Karlson. This story of the machinations of a treacherous Indian scout and the efforts of Fennimore Cooper's "Hawkeye" to prevent the massacring of an English fort, laid against the background of the prerevolufion bicker between the French and English over the land of the new world, is a western which should prove entertaining enough for action fans. Despite the film's moderate marquee values, grosses should be slightly better than av erage for action houses, while it will serve adequately as a supporting feature elsewhere. Montgomery capably plays the role of Hawkeye and Brenda Marshall fits neatly into the feminine lead. STORY: Glen Langan delivers secret orders concerning strategy in the English-French war to the General of the English army. The General sends a dispatch rider, George Montgomery's brother, with the message to the Col., Paul Cavanagh. Reginald Denney sends along two other scouts, Sheldon Leonard and a white man, to prevent the message from reaching Cavanagh. Montgomery arrives on the scene too late to prevent the murder, but in time to discover who the murderers are. He and his Indian friend, Monte Blue, trap and kill the white mur derer and set off after Sheldon Leonard. Now a fugitive, Montgomery changes his name and travels to the fort where Sheldon Leonard acts as scout. Montgomery denounces Leonard to Denney, and the latter attempts to kill Montgomery but is shot by Monte Blue. Langan has Montgomery and Monte Blue thrown in jail for the murder of Denney. While there, Leonard leads an attack against the fort and carries off Marshall. Langan, Montgomery, and Blue set off in pursuit. All four are picked up by an Ottawa war party and both Montgomery and Leonard claim Marshall. According to tribal law they fight with knives for the woman and freedom. Montgomery wins, the French stop the Indian massacre, and Montgomery returns to the fort with Marshall, to stay on as chief scout. RUBE. 8 FILM BULLETIN